Mark Scheme (Results) January 2012 - MathsMadeEasy.co.uk · Mark Scheme (Results) January 2012 GCE English Language & Literature (6EL03) Paper 01 . Edexcel and BTEC Qualifications

Mark Scheme (Results) January 2012 GCE English Language & Literature (6EL03) Paper 01

Edexcel and BTEC Qualifications Edexcel and BTEC qualifications come from Pearson, the world’s leading learning company. We provide a wide range of qualifications including academic, vocational, occupational and specific programmes for employers. For further information, please call our GCE line on 0844 576 0025, our GCSE team on 0844 576 0027, or visit our qualifications website at www.edexcel.com. For information about our BTEC qualifications, please call 0844 576 0026, or visit our website at www.btec.co.uk. If you have any subject specific questions about this specification that require the help of a subject specialist, you may find our Ask The Expert email service helpful. Ask The Expert can be accessed online at the following link: http://www.edexcel.com/Aboutus/contact-us/ Alternatively, you can speak directly to a subject specialist at Pearson about Edexcel qualifications on our dedicated English telephone line: 0844 372 2188 Pearson: helping people progress, everywhere Our aim is to help everyone progress in their lives through education. We believe in every kind of learning, for all kinds of people, wherever they are in the world. We’ve been involved in education for over 150 years, and by working across 70 countries, in 100 languages, we have built an international reputation for raising achievement through innovation in education. Find out more about how we can help you and your students at: www.pearson.com/uk January 2012 Publications Code UA030412 All the material in this publication is copyright © Pearson Education Ltd 2012

General Marking Guidance

• All candidates must receive the same treatment. Examiners must mark the first candidate in exactly the same way as they mark the last.

• Mark schemes should be applied positively. Candidates must be rewarded for what they have shown they can do rather than penalised for omissions.

• Examiners should mark according to the mark scheme not according to their perception of where the grade boundaries may lie.

• There is no ceiling on achievement. All marks on the mark scheme should be used appropriately.

• All the marks on the mark scheme are designed to be awarded. Examiners should always award full marks if deserved, i.e. if the answer matches the mark scheme. Examiners should also be prepared to award zero marks if the candidate’s response is not worthy of credit according to the mark scheme.

• Where some judgement is required, mark schemes will provide the principles by which marks will be awarded and exemplification may be limited.

• When examiners are in doubt regarding the application of the mark scheme to a candidate’s response, the team leader must be consulted.

• Crossed out work should be marked UNLESS the candidate has replaced it with an alternative response.

Unit 3: Varieties in Language and Literature (January 2012) Section A: Unprepared Prose

Question Number

1. (Total 40 Marks) Indicative content

A Sense of Place Candidates are likely to demonstrate an awareness and understanding of the effectiveness of:

• the purpose of the autobiography: to inform, entertain and describe

• the intended audience: fans of Bill Bryson, those interested in

American culture of the 1950s, readers interested in revisiting their childhoods

• the writer’s representation of Des Moines in the 1950s – e.g.

“But then most things in Des Moines in the 1950s were the best of their type”

• the writer’s positive attitudes towards a wide range of

features in his hometown – e.g. “We had the tastiest baked goods at Barbara’s Bake Shoppe”

• the exclusive nature of the writer’s hometown – e.g. “Every

community was special and nowhere was like everywhere else”

• the writer’s use of humour – e.g. “And the best farts

afterwards...”

• the way the writer takes the reader on a tour around the town – e.g. “Driving home from Ashworth Pool through Greenwood Park...”

• the way the writer appeals to the senses – e.g. “you would

shortly be plunging your face into three gooey scoops of Reed’s ice cream”

• references to a range of place names, as if the reader is

familiar with them

• the way the writer addresses the reader directly – e.g. “To know that you’d have had to thousands of towns and cities across the nation...”

• the writer’s factual, informative approach – e.g. “one billion of them alone”

• the suggestion at the end of the extract that this place was not entirely perfect – “It wasn’t an entirely efficient system...”

Candidates are likely to apply an understanding of the contextual aspects above and their impact on relevant language techniques and literary devices, such as:

• lexis associated with pleasure – e.g. “delicious”, “lovely”

• lexis associated with American culture – e.g. “drive-in”, “drug stores”, “moms”

• a wide range of words from the semantic field of food

• the writer’s use of asyndetic listing at the end of the second

paragraph to emphasise abundance

• the writer’s use of a wide range of superlatives to convey a sense of pleasure and luxury – e.g. “tastiest”, “meatiest”, “crispiest”

• use of the first person plural to convey a sense of a shared

experience – e.g. “We had our own department stores...”

• use of second person pronouns to invite the reader to share the writer’s experiences – e.g. “you didn’t take them to your car with you...”

• variety of sentence constructions to engage the reader’s

interest – e.g. the fourth paragraph

• use of noun phrases to create interesting, detailed descriptions – e.g. “We had the most vividly delicious neon-coloured ice creams at Reed’s...”

• use of parallelism to emphasise the writer’s positive attitude –

e.g. “We had the...We had the ...We had the...”

• the use of parentheses to create a conversational style – e.g. “(or ‘sacked’ in Iowa)”

• the use of emotive language: e.g. “’We do not want to walk

at our children’s funerals...’”, “’I also feel terribly sad and frustrated...’”

• the writer’s use of figurative language – e.g. “under a flying canopy of green leaves”, “nicely basted in chlorine”

• the predominance of declaratives

Candidates are likely to construct a cohesive, discursive text in an appropriately formal register. These are suggestions only. Accept consideration of any of the various interpretations of the writer’s purposes and techniques based on different literary or linguistic approaches. 40 Marks

Question Number


The Individual in Society Candidates are likely to demonstrate an awareness and understanding of the effectiveness of:

• the genre: a speech as part of a panel presentation, broadcast on a US radio station

• the audience: US radio listeners; wide audience

• the purpose of this speech: to express an opinion; persuade an audience to share a view on race relations

• the speaker's assertive, controlled and rational delivery

• the speaker's knowledgeable and informed approach: e.g.

“from a people 80 percent illiterate...”

• the speaker's optimism: e.g. “in whose ultimate realization we have a deep and abiding faith”

• the speaker's determination to represent African Americans

• the speaker's religious faith as a driving force throughout the speech

• the speaker's desire and determination to help US society

establish equality for all its citizens

• the speaker's pride in the contributions that African Americans have made to US society: e.g. “We have given you Paul Lawrence Dunbar...”


• the speaker's controlled, formal register

• effects created by figurative language: e.g. “we are rising out of the darkness of slavery into the light of freedom”

• the speaker's use of antithesis as a rhetorical device: e.g.

“from abject poverty to the ownership of a million farms...”

• variety of sentence lengths and their persuasive effects: • e.g. the way the third paragraph presents the social

injustices suffered by African Americans

• semantic fields associated with cultivation and battle: e.g. “the first fruits of a rich harvest”; “towards which our nation is marching”

• use of prosodic features as rhetorical devices: e.g. “This

dream, this idea, this aspiration, this is what American democracy means to me.”

• speaker's use of tripling for emphasis: e.g. “They live too often in terror of the lynch mob; are deprived...of suffrage; and are humiliated ...by the denial of civil liberties”

• speaker's use of first person pronouns to emphasise the fact that she is arguing on behalf of a specific group of people: e.g. “Democracy is for me...”; “We have helped to build America with our labor”

• speaker's choice of syntax: e.g. fronting sentences with adverbials or conjunctions - “As we have been extended a measure of democracy, we have brought to the nation rich gifts”; “And yet, we have always been loyal...”

• speaker's use of parallelisms: e.g. “We have fought for the

democratic principles...We have fought to preserve one nation...Yes, we have fought for America...”


Question Number


Love and Loss Candidates are likely to demonstrate an awareness and understanding of the effectiveness of:

• the genre of a topical feature article from the arts section of The Independent newspaper

• the purpose – to inform and entertain • the audience – readers of broadsheets, those interested in

escapist romantic literature

• the writer's interest in the romantic fiction industry: its history, popularity and its methods

• the writer's apparently ironic tone, evident in the rather

dismissive summaries of the three novels and the use of clichés (“searing glance”, “hottest flame”)

• the writer's implied admiration for the romantic fiction

industry as a cultural phenomenon: e.g. “Mills and Boon sells three books every second, bucking the trend in general fiction...sales”

• the variety of attitudes towards romantic fiction:

chairwoman's response to the award-winning title; the author's reaction to the award; the writer of the article's view of the romantic fiction industry; the psychologist's theory on why romantic fiction is so popular

• the link between the genre's popularity and the socio-

economic context

• the reader's possible attitudes towards the ways in which the romantic fiction industry is portrayed


• accessible journalistic register: e.g. “It's not the first time that an interest in escapist fiction has coincided with depressing times”

• journalistic lexis: e.g. “girlie covers”, “lad-lit”

• varied sentence lengths to retain the reader's interest: e.g.

paragraph 10 (beginning “It's not the first time that an interest in escapist romantic fiction...”)

• use of direct speech to portray a variety of views and attitudes

• writer's use of clichés to create an ironic tone: e.g. “in search

of that elusive thing called 'love'”

• writer's use of witty phrases to create an apparently ironic tone: e.g. “nom de plume sex change”

• lexis associated with fire: “searing glance”, “hottest flame”

• use of tripling to emphasise generic features (“different flaws,

strengths and voices”)

• use of parentheses to enable a fluent, detailed and informative style of expression (see first three paragraphs for examples)

• writer's use of pre-modifiers to create amusement: e.g.

“upsettingly large bottom”

• the overall structure: introduction entices reader by offering synopses of three new titles; mention of the RNA award; increasing popularity of the genre; potted history of Mills and Boon; supposed merits of reading romantic fiction


Question Number


Family Relationships Candidates are likely to demonstrate an awareness and understanding of the effectiveness of:

• the genre – autobiographical writing • the purpose of autobiographical writing – here to inform,

describe and entertain • the writer's subjective view of members of his family

• recollections of austerity and its apparent effects on family

relationships • the writer's implied sympathy for his parents

• the writer's implied criticism of his grandparents

• the emotional distances between the generations: e.g.

“...uninterested in my sister or myself, and barely interested in my mother and her wartime experiences...”

• the effects that the war had on family relationships

• the effects that geographical distances and different locations

have on relationships: e.g. “There had been heavy bombing in the Birmingham area, and I suspect that they felt my mother's years in Lungha were a holiday by comparison”; “Shanghai was five weeks away by P&O boat...”

• the contrasting cultures of Britain and Shanghai

• the apparent lack of communication between members of the

family: e.g. “My mother rarely talked about her life in West Bromwich...”; “My parents never spoke about their reasons for leaving England”

• the way that relationships are influenced by places: e.g. “Life

was intensely narrow for them, living in a large, three-storey house where the rooms were always dark...”; “my father...convinced my mother that England would take years to climb out of the recession...”

• the writer's apparently neutral tone, inviting reader to infer:

e.g. “She never gave me any idea if she was happy or

unhappy.” Candidates are likely to apply an understanding of the contextual aspects above and their impact on relevant language techniques and literary devices, such as:

• formal register overall (apart from the odd colloquialism - “two practice pianos were going all day...”; “I blotted my copybook”)

• the retrospective style of the text: e.g. “Yet in later years my

mother told me...”

• use of literal language to establish facts and provide background information: e.g. “My mother was born in west Bromwich... in 1905...”; “She and my father met at a holiday hotel in the Lake District...”

• use of figurative language to entertain: e.g. “seemed to be

living relics of the Victorian world”; “and was shocked out of her skin...”

• use of tripling to emphasise certain features: e.g. “the air we

breathed, hope of a better world, and the brief glimpses of the sun”

• the use of noun phrases, adjective phrases and adverbial

phrases to provide information in a fluent, entertaining way: e.g. “With their rigid, intolerant minds...”; “a small and ungenerous woman...”

• varied sentence lengths to maintain reader's interest: see

second paragraph • narrator's ironic tone established by bathos: e.g. “After her

death my grandfather went through a remarkable transformation that seems to have begun as he walked away from the funeral.”

• the overall structure of the text: shifts from one time period

to another; does not follow a chronological pattern – creates a conversational style (e.g. “Yet in later years my mother told me that her father had been something of a rebel in his younger days...”)


Band Mark AO1: Select and apply relevant concepts and

approaches from integrated linguistic and literary study, using appropriate terminology and accurate, coherent written expression

1 0 - 3

• Demonstrates awareness of some relevant concepts and approaches from integrated linguistic and literary study

• Uses some appropriate terminology

• Writes with some clarity, there will be lapses in expression.

2 4 - 7

• Applies relevant concepts and approaches from integrated linguistic and literary study

• Employs a range of relevant terminology

• Writes with clarity and accurate expression.

3 8 - 10

• Applies a significant range of relevant linguistic and literary concepts and approaches from integrated linguistic and literary study

• Employs a wide range of terminology accurately

• Writes with control, fluency and coherence.

Band Mark AO2: Demonstrate detailed critical understanding in

analysing the ways in which structure, form and language shape meanings in a range of spoken and written texts

1 0 - 5

• Demonstrates limited understanding of the text

• Demonstrates limited awareness of some features of structure, form or language

• Takes a descriptive approach to the task.

2 6 - 11

• Demonstrates an awareness of some of the attitudes, values or ideas in the text

• Demonstrates awareness of features of structure, form and language

• Responds analytically in some places, drawing a limited number of connections between features and their effects.

3 12 - 17

• Demonstrates critical understanding of some of the attitudes, values or ideas in the text

• Demonstrates understanding of a range of features of structure, form and language

• Takes a consistently analytical approach to the task, drawing a range of connections between features and their effects.

4 18 - 23

• Demonstrates clear critical understanding of the attitudes, values or ideas in the text

• Demonstrates clear understanding of a wide range of features of structure, form and language

• Takes a consistently analytical approach to the task, exploring in detail a range of connections between features and their effects.

5 24 - 30

• Engages fully and critically with the attitudes, values and ideas in the text, exploring, where appropriate, subtle, implied or embedded meanings

• Demonstrates secure understanding of an extensive range of features of structure, form and language

• Takes a precise and incisive analytical approach, exploring in detail a wide range of connections between features and their effects.

Section B: Prepared Prose or Poetry

Question Number


A Sense of Place Candidates are likely to demonstrate an awareness and understanding of:

• similarities and differences in the presentation of specific places in the texts studied

• exploration of a variety of attitudes towards the past: e.g.

discussion of the ways in which characters are motivated by past events; a persona's reference to memories

• ways in which a writer's values might be reflected in textual

representations of the past

• the ways in which the thematic concerns of the plays are portrayed: e.g. the way a nation might use history as justification for its imperialistic policies

• different levels on which the past might be explored: e.g.

structure, tone, content, imagery, characterisation

• ways in which certain individuals might challenge the influences of the past, as exemplified by Hardy's poem, At Castle Boterel

• the positive and negative aspects of the past: Jimmy Jack

trapped in an illusory world in Translations; Betjeman's fond portrayals

• detailed connections between a range of relevant contextual

factors and the features and/or meanings of texts: e.g. Friel's choice of historical setting in Translations compared to references to the Vietnam War at the beginning of Stuff Happens

• Significant contextual factors for each of the texts e.g.:

Translations – two time scales: set in 1833; written in 1979 Stuff Happens – the suggestion that US foreign policy in the aftermath of 9/11 was influenced by the outcome of the Vietnam War nearly thirty years previously Thomas Hardy – biographical context: e.g. Hardy's memories of his

wife, Emma The Best Loved Poems of John Betjeman – the way that the onslaught of modernisation may have prompted Betjeman to look back at the past When responding to the drama texts, candidates are likely to apply an understanding of relevant literary and linguistic concepts/features, such as:

• the crafting of the dialogue – e.g. Hugh's fond recollection (in Act 3 of Translations) of joining the Rebellion forty years earlier

• how language creates dramatic tension – e.g. Powell's references to the Roman Empire when challenging Bush's aggressive attitude towards Iraq in Scene 11 of Stuff Happens

• the structure of the play – e.g. the Actor's reference to the fall of Saigon in Scene 3 as a context for the events of the play (narrative structure and presentation of plot)

• characterisation - e.g. Jimmy Jack's obsession with an ancient past, in Translations

• stagecraft and set - e.g. the effect created by setting the whole of Translations inside the hedge school in 1833

When responding to the poetry texts, candidates are likely to apply an understanding of relevant literary and linguistic concepts/features, such as:

• choice of form – e.g. the ballad-like refrain of the sixth line of each stanza of During Wind and Rain to emphasise the passing of time

• use of rhyme – e.g. Hardy's use of triple rhyme to recreate the haunting effect of the ghostly woman's voice and the breeze in The Voice

• effects created by rhythm – e.g. the regular rhythm of Betjeman's Westgate-on-Sea to help create a vivid image of the place

• creation of voice – e.g. the persona's nostalgic tone in Betjeman's Myfanwy

• humour – e.g. the list of details at the beginning of Betjeman's Sun and Fun to create an amusing visual image, contrasted with the sobering thoughts at the end of the poem

• imagery – e.g. the juxtaposition between images of the shipwreck and images of marine life in The Convergence of the Twain to emphasise the passing of time

These are suggestions only and examples given are indicators only. Reward comparison between texts being aware that this may be approached in different ways. 60 Marks

Question Number


The Individual in Society Candidates are likely to demonstrate an awareness and understanding of:

• the similarities and/or differences in the presentation of “the individual” in the texts studied

• the similarities and/or differences in the ways writers

represent society • focus on how characters/personae perceive society

• the writer's approach to the way individuals feel the need to

be listened to or understood

• the contextual factors relevant to texts, such as references to Elizabethan attitudes towards women, race and class

• the writer's different attitudes towards the world in which the

text is set and techniques used to convey these attitudes

• how an individual's need to be understood by society relates to the thematic concerns of the texts (e.g. authority, freedom)

• detailed connections between a range of contextual factors

and the features and/or meanings of texts: for example, ways in which poets represent society's apparent indifference; ways in which individuals try to make themselves heard (through actions or words)


Othello – Elizabethan society's attitudes towards women and race Equus – changing attitudes towards religion in the 1970s Eliot – the fragmentation of society in the aftermath of WW1 Gunn & Hughes – the conflict between society and nature When responding to the drama texts, candidates are likely to apply an understanding of relevant literary and linguistic concepts/features, such as:

• the crafting of the dialogue – e.g. Othello's address to the senators in Act 1

• how language creates dramatic tension - e.g. Desdemona's innocent responses to Othello's interrogation in Act3 Scene 4

of Othello • the structure of the play: e.g. the juxtaposition of Alan's

story with Dysart's changing views and attitudes • characterisation - e.g. the contrasting ways in which Othello

and Iago express their views to those around them • stagecraft and set – e.g. the presence of the “Chorus”

throughout Equus, suggesting that society is listening to the characters


• choice of form - e.g. the choice of the dramatic monologue form for The Love Song of J Alfred Prufrock

• use of rhyme – e.g. the way the rhyme scheme emphasises the intricate roles depicted in Gunn's Tamer and Hawk

• effects created by rhythm – e.g. the change of pace in Hughes's poem, The Jaguar, to reflect the persona's empathy

• creation of voice - e.g. the variety of voices in The Waste Land

• humour – e.g. the way that tattooing is portrayed as a form of rebellion in Gunn's poem, 'Blackie, The Electric Rembrandt'

• imagery – e.g. the various connotations of water imagery in Eliot's The Waste Land


Question Number


Love and Loss Candidates are likely to demonstrate an awareness and understanding of:

• similarities and/or differences in the presentation of love in the texts studied

• relationships and/or attitudes portrayed in the texts

• different examples of the way love might change a person's

life: for example, a character's change of behaviour; poets' use of conceits, metaphorical language to represent the way a persona now sees things

• the way the structure of a text emphasises life-changing

experiences: e.g. The Glass Menagerie as a memory play

• a range of thematic concerns: e.g. sexual politics – some critics might argue that Emma's lifestyle has not changed radically, as represented by her apparent need to domesticate the “love nest”

• the way life-changing experiences may by represented by a

description of emotions

• optimistic and pessimistic depictions of life-changing experiences

• the contextual factors relevant to the texts, such as an

awareness of seventeenth century poets' preoccupation with the pain of lost or unrequited love; or Tennessee Williams's biographical context


Betrayal – Pinter's exploration of gender differences: has women's role in society changed? Glass Menagerie – social pressures on people to find a life partner Sylvia Plath – Plath's attitudes towards becoming a mother Metaphysical – the effect of “carpe diem” on moral decisions When responding to the drama texts, candidates are likely to apply an understanding of relevant literary and linguistic concepts/features, such as:

• the crafting of the dialogue: e.g. the dialogue between Jerry and Emma at the end of the play – Jerry's use of clichés lead

us to question his sincerity from the very beginning of the relationship

• how language creates dramatic tension - e.g. Laura's tentative language in her dialogue with Jim in Scene 7 of The Glass Menagerie

• the structure of the play – e.g. the effects created by the retrospective approach of Betrayal, inviting the audience to consider the aftermath of Jerry's relationship with Emma

• characterisation – the portrayal of Tom's reaction to events in The Glass Menagerie, as shown in his final speech as narrator

• stagecraft and set - e.g. the cinematic style of the set of The Glass Menagerie, suggesting that a significant event has occurred


• choice of form – e.g. Donne's A Nocturnal Upon St Lucie's Day (sometimes described as an elegy) which depicts the persona's loss of being

• use of rhyme – e.g. the mournful tone created by the rhyme scheme in Sir John Suckling's Farewell to Love

• effects created by rhythm – e.g. the fluctuating rhythm of George Herbert's Easter Wings

• creation of voice – e.g. the bitter tone of Plath's Mary's Song • humour – e.g. Donne's choice of conceit in The Flea • imagery – e.g. Plath's use of a wide range of random images

in You're to enhance her sense of excitement at becoming a mother


Question Number


Family Relationships Candidates are likely to demonstrate an awareness and understanding of:

• the nature of the relationships portrayed in the texts

• the similarities and/or differences in the presentation of the texts studied

• the range of ways in which writers show a lack of

communication between family members

• exploration of relevant contextual factors: e.g. reference to society's influence on roles within the family

• detailed connections between a range of relevant contextual

factors and the features and/or meanings of texts: for example, the way men as “heads of families” feel the need to preserve a sense of honour and are therefore reluctant to talk openly about their thoughts and feelings; the way that the persona in Harrison's poetry struggles with the conflict between his upbringing and his education


All My Sons – the conflict between the role of the family and the American Dream A Doll’s House – the stifling nature of the patriarchal society in which the play is set Chaucer – attitudes towards women's roles in society Tony Harrison – attitudes towards class and social mobility When responding to the drama texts, candidates are likely to apply an understanding of relevant literary and linguistic concepts/features, such as:

• the crafting of the dialogue – e.g. Kate Keller's tentative comments in her conversation with Ann in Act 1 of All My Sons

• how language creates dramatic tension – e.g. the use of pet names in the opening dialogue between Nora and Torvald in A Doll's House

• the structure of the play – e.g. the contrasting ways in which the secrets are revealed in the two plays

• characterisation - e.g. Chris's changing attitude to his father at the end of Act 2 of All My Sons

• stagecraft and set - e.g. the claustrophobic atmosphere

created by the set in A Doll's House and the effect that it has on communication between the characters


• choice of form – e.g. Chaucer's use of the prologue form to enable the Wife of Bath to talk about her background and experiences

• use of rhyme – e.g. the way it emphasises the different attitudes towards reading expressed by father and son in A Good Read

• effects created by rhythm – e.g. the way it emphasises the Wife of Bath's candour when talking about men and women in her prologue

• creation of voice - e.g. the way that Harrison expresses his feelings about his relationships with his mother and father

• humour – established by the Wife of Bath's character and the way she speaks openly about relationships

• imagery – e.g. the imaginative way that Harrison refers to book ends as a way of illustrating the lack of communication in his relationship with his father


Band Mark AO1: Select and apply relevant concepts and

approaches from integrated linguistic and literary study, using appropriate terminology and accurate, coherent written expression

1 0 - 3

• Demonstrates awareness of some relevant concepts and approaches from integrated linguistic and literary study

• Uses some appropriate terminology

• Writes with some clarity, there will be lapses in expression.

2 4 - 7

• Applies relevant concepts and approaches from integrated linguistic and literary study

• Employs a range of relevant terminology


3 8 - 10

• Applies a significant range of relevant linguistic and literary concepts and approaches from integrated linguistic and literary study

• Employs a wide range of terminology accurately


Band Mark AO2: Demonstrate detailed critical understanding in analysing the ways in which structure, form and language shape meanings in a range of spoken and written texts

1 0 - 3

• Demonstrates some limited critical understanding of the texts

• Demonstrates limited awareness of features of structure, form and language in the texts

• Takes a descriptive approach to the task.

2 4 - 7

• Demonstrates critical understanding of the attitudes, values or ideas in the text

• Demonstrates understanding of some features of structure, form and language in the texts

• Takes an analytical approach, drawing relevant connections between features and their effects, some evaluation may be evident.

3 8 - 10

• Engages fully and critically with the attitudes, values and ideas in the texts

• Demonstrates secure understanding of a range of features of structure, form and language

• Takes an incisive evaluative and analytical approach, exploring in detail the connections between features and their effects.

Band Mark AO3: Use integrated approaches to explore

relationships between texts, analysing and evaluating the significance of contextual factors in their production and reception

1 0 - 5

• Demonstrates very limited awareness of similarities or differences between texts, provides very limited evidence of an integrated approach

• Describes limited relevant contextual factors with some recognition of their impact

• Identifies the context in which the texts are produced and received.

2 6 - 11

• Demonstrates awareness of similarities and differences between the texts, provides limited evidence of an integrated approach

• Describes a range of relevant contextual factors with recognition of their impact

• Describes the context in which the texts are produced and received.

3 12 - 17

• Makes some limited exploration of a limited range of similarities and differences between the texts, provides partial evidence of an integrated approach

• Demonstrates understanding of a range of relevant contextual factors with some evaluative comment

• Shows some awareness of the context in which the texts are produced and received.

4 18 - 23

• Makes some detailed exploration of a limited range of relevant similarities and differences between the texts, provides some appropriate evidence of an integrated approach

• Analyses some contextual factors with some evaluative comment

• Shows some understanding of the context in which the texts are produced and received.

5 24 - 29

• Makes detailed exploration and comparison, provides appropriate evidence of an integrated approach

• Analyses relevant contextual factors with some developed evaluative comment

• Shows understanding of the context in which the texts are produced and received.

6 30 - 35 • Makes detailed analytical exploration and comparison,

provided detailed evidence of an integrated approach

• Takes an analytical and evaluative approach to relevant contextual factors

• Shows a developed understanding of the context in which the texts are produced and received.

7 36 - 40

• Demonstrates a consistently detailed and comparative approach, analysing and synthesising, making incisive and original observations, provides detailed and illuminating evidence of an integrated approach

• Takes an incisive, analytical and evaluative approach to a range of relevant contextual factors

• Shows a well-developed and insightful understanding of the context in which the texts are produced and received.

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Mark Scheme (Results) January 2012 - MathsMadeEasy.co.uk · Mark Scheme (Results) January 2012 GCE English Language & Literature (6EL03) Paper 01 . Edexcel and BTEC Qualifications